Jane Glover Conducts ‘The Magic Flute’ at the Met - The New York Times The New York Times Music |A Rollicking Treat Infused With Grace and Gravitas Search A Rollicking Treat Infused With Grace and Gravitas Jane Glover Conducts ‘The Magic Flute’ at the Met Continue reading the main story Photo The Magic Flute Nathan Gunn, center, as Papageno in Julie Taymor’s production at the Metropolitan Opera. Credit Sara Krulwich/The New York Times On Monday night the acclaimed British conductor Jane Glover became only the third woman to conduct at the Metropolitan Opera. The occasion was the revival of Julie Taymor’s 2004 production of Mozart’s “The Magic Flute,” presented as a family-friendly offering for the holidays, trimmed to 100 minutes without intermission and performed in a snappy English translation by J. D. McClatchy. Mozart’s fairy-tale opera, Ms. Taymor’s fanciful production and a winning cast delighted the audience, judging by the frequent laughter of the many children in attendance. But Ms. Glover’s appearance, and the magisterial performance and nuance she drew from the orchestra, were the news here.

When she appeared in the pit to take a bow before the performance started, it seemed just so fresh and right; it’s amazing how inured Met regulars have become to the company’s poor record on behalf of female conductors. The accomplished Ms. Glover, 64, is the director of opera at the Royal Academy of Music in London. She has conducted at Covent Garden, the English National Opera, the Berlin State Opera, the Royal Danish Opera and other companies. It is not as if her work was unknown in New York, where her appearances have included a Carnegie Hall debut with the Orchestra of St. Luke’s in 2003 and, last year at the Juilliard School, a vibrant account of Gluck’s “Armide.” Photo The conductor Jane Glover made her Met debut on Monday night. Credit Metropolitan Opera Alas, like many fields, classical music had a history of erecting barriers to women. But these days our orchestras are filled with female players, and there are so many prominent female composers that one need hardly call attention to it. There are important female conductors as well, but resistance to the idea of a female authority figure on the podium apparently lingers.

At the Met the gender barrier was broken in 1976 when Sarah Caldwell made a well-received house debut conducting Verdi’s “La Traviata,” although Beverly Sills deserved significant credit for this breakthrough: Invited to sing Violetta, she said she would do so only if her colleague Ms. Caldwell was brought in. Ms. Caldwell returned in 1978 for a string of performances of Donizetti’s “L’Elisir d’Amore.” The Australian conductor Simone Young made her Met debut conducting Puccini’s “La Bohème” in 1996, when she was already a significant figure in opera. Her last Met performances were in 1998. Advertisement Continue reading the main story Of course, that Ms. Glover is making her Met debut with what is, in effect, a children’s version of “The Magic Flute” could be seen as a little patronizing. Yet in another way, it was heartening that the young people in the audience, some of them perhaps attending their first opera, saw a woman in charge. There are musical challenges to conducting this version of the score.

According to the Met, the uncut “Magic Flute” (not including intermission) runs about 150 minutes. To trim the score by a third, a few arias and duets were omitted, along with the overture; other arias and ensembles were shortened, although the surgery was sensitively done. Photo A family-oriented “Magic Flute,” cut to 100 minutes with no intermission: Alek Shrader as Prince Tamino with some of the puppets in Julie Taymor’s production at the Metropolitan Opera. Credit Sara Krulwich/The New York Times Ms. Glover’s spirited and graceful conducting surely accounts for the overall continuity and flow of the performance. “The Magic Flute” does have elements of a vaudeville show, especially in Ms. Taymor’s production, with its fire-breathing statues and billowing puppets that dance and frolic. Ms. Glover conveyed the music’s whimsy and humor, but also its richness and mystery. The strings played with exceptional warmth and clarity. I am among the minority, it would seem, who find Ms. Taymor’s production too circuslike and exotic.

Still, it was charming to see and hear the children as they looked in wonderment at the serpent, a multi-sectioned monster propped up by a scampering row of dancers, chasing Prince Tamino, and giggled when the dastardly slave Monostatos (John Easterlin) exposed his corpulent (fake) belly. Judging by the laughter and applause, the baritone Nathan Gunn , as the earthy, bungling bird-catcher Papageno, was the favorite of the children. Mr. Gunn was in good, hearty voice and seemed to be having fun. The tenor Alek Shrader brings a sweet, clear voice and earnestness to Prince Tamino. The lovely lyric soprano Heidi Stober is an endearing Pamina. The bass-baritone Eric Owens lacked some degree of vocal power and firmness on Monday. Still, he brings gravity and elegance, as well as impeccable diction, to Sarastro. The coloratura soprano Albina Shagimuratova is a technically flawless, luscious-toned and chilling Queen of the Night. After this successful and overdue Met debut, Ms. Glover should be given an uncut opera to conduct. And where is Anne Manson?

She is another conductor with international credentials who has been the go-to choice for many productions at Juilliard, including the American premiere of Peter Maxwell Davies’s searing opera “Kommilitonen!” in 2011. Guess who conducted the premiere of that daunting score in London earlier that year? Jane Glover. “The Magic Flute” runs through Jan. 4 at the Metropolitan Opera; 212-362-6000, metopera.org. A version of this review appears in print on December 18, 2013, on Page C1 of the New York edition with the headline: A Rollicking Treat Infused With Grace and Gravitas. Order Reprints | Today's Paper | Subscribe The Magic Flute | opera by Mozart | Britannica.com The Magic Flute singspiel The Magic Flute, German Die Zauberflöte, singspiel in two acts by Wolfgang Amadeus Mozart , with a German libretto by Austrian actor and theatrical producer Emanuel Schikaneder .

The opera , Mozart’s last, premiered at the rustic Theater auf der Wieden near Vienna on September 30, 1791, not long before Mozart’s death on December 5. Wolfgang Amadeus Mozart, portrait by Johann Georg Edlinger; in the Gemäldegalerie in Berlin, … Sean Gallup/Getty Images Background and context On one level, The Magic Flute is a simple fairy tale concerning a damsel in distress and the handsome prince who rescues her. Beneath the surface, however, the piece is much more complex. It is an allegory of the quest for wisdom and enlightenment as presented through symbols of Freemasonry ; Mozart and Schikaneder were both Freemasons. Most obvious of the Masonic symbols is the number three: among the cast are three boys, three ladies, and three slaves, and musical passages feature three chords (as those that begin the overture ) or three stanzas, among other instances. Listen: Mozart, Wolfgang Amadeus: “ Birdcatcher Song ” from Act I of The Magic … The music of The Magic Flute closely underscores the drama. Mozart used varied musical styles to depict his characters.

Folksy birdcatcher Papageno—a role first played by Schikaneder himself—and his late-appearing sweetheart Papagena (the names derive from the German word for “parrot”) are given unpretentious, folklike melodies. By contrast, the deceptive Queen of the Night is portrayed as an Italianate coloratura indulging in both vocal and emotional histrionics. (The role, written for Mozart’s sister-in-law Josepha Hofer, is famed in opera circles as the highest and perhaps most difficult ever composed, with its light, fast coloratura singing and large intervals between consecutive pitches.) For the young lovers Tamino and Pamina, Mozart composed music that is sweetly romantic yet also harmonically progressive, using at times an unusually chromatic vocal line. Using music to reinforce personality allowed Mozart to create characters that continue to move modern audiences.

Similar Topics Listen: Mozart, Wolfgang Amadeus: Queen of the Night’s aria The Queen of the Night’s aria “ Der Hölle Rache, ” from Act II of … Like Mozart’s few other German-language operas—including Die Entführung aus dem Serail, The Abduction from the Seraglio—The Magic Flute is a singspiel , a form that includes spoken dialogue between the musical numbers. (See also operetta. ) Works combining spoken words and sung text in local languages— German , French , and English —were fairly common, and these more-accessible works had periods of great local popularity. The Magic Flute, which was successful from the beginning, continues to make frequent appearances on the world’s opera stages.

Cast and main vocal parts Tamino, a prince ( tenor ) The Queen of the Night (coloratura soprano ) Pamina, her daughter (soprano) Sarastro, high priest of Isis ( bass ) Monostatos, chief slave of the temple (baritone) Papagena (soprano) Three Ladies, attendants to the Queen (sopranos, mezzo-soprano ) Three Spirits, boys (treble, alto , mezzo-soprano) Speaker of the temple (bass-baritone) Three priests (tenor, basses) Two men in armour (tenor, bass) Three slaves (tenors, bass) Priests, priestesses, slaves, populace, animals. Setting and story summary Act I Scene 1. Prince Tamino, lost in a wild forest, is being pursued by a giant serpent. He collapses. The Three Ladies, who serve the Queen of the Night, appear and kill the monster. They find the unconscious Tamino attractive, and they argue about who will guard him while the others report to the Queen of the Night; unable to decide, they all leave.

Papageno the birdcatcher enters, singing of the joys of his profession and his desire for a wife. Tamino recovers consciousness , and Papageno claims to have strangled the serpent himself. The Three Ladies reappear and padlock his mouth for lying. They show Tamino a portrait of Pamina; he falls in love at first sight. The Queen arrives. She tells Tamino that Pamina is her daughter, who has been captured by the evil Sarastro. She persuades Tamino to rescue Pamina, promising him Pamina’s hand if he succeeds. The Three Ladies give Tamino a magic flute and Papageno a set of magic bells to protect them on their journey. The Three Spirits will guide them to Sarastro’s temple. Britannica Stories Queen Elizabeth I’s Skirt Found Scene 2. In Sarastro’s palace, his slave Monostatos is trying to molest Pamina when Papageno appears. Monostatos and Papageno are terrified by each other and flee. But Papageno returns and reassures Pamina that her mother has sent Tamino to help her.

She is overjoyed to learn that Tamino loves her, and she sympathizes with Papageno’s longing for a wife. They leave together. Music: Fact or Fiction? Scene 3. The Three Spirits lead Tamino to Sarastro’s temple grove. Tamino is at first rebuffed as he seeks to enter the temples of Reason and Nature, but the speaker of the temple of Wisdom reveals to him that Sarastro is good, not evil. Having learned that Pamina is alive, Tamino plays his magic flute to summon Pamina and Papageno; its sounds tame the animals. Papageno answers with his pipes, and Tamino rushes off to find them. Scene 4. Papageno and Pamina are making their way toward Tamino when they are captured by Monostatos and his fellow slaves. Papageno uses his magic bells to enchant his enemies, making them dance away. Sarastro and his entourage approach. Pamina reassures Papageno and tells him that they must tell Sarastro the truth. She confesses to Sarastro that she tried to escape because of Monostatos’s attentions.

Sarastro is kind, but he says he cannot grant her freedom, because she needs a man’s guidance. Monostatos now enters with Tamino as his prisoner. Tamino and Pamina see each other for the first time and rush into each other’s arms, to the astonishment of Sarastro’s followers. Monostatos seeks a reward, but instead Sarastro punishes him for lusting after Pamina. Sarastro leads Tamino and Papageno to the temple. Act II Scene 1. Sarastro meets with his council. They decide that Tamino and Pamina should marry and that Tamino should succeed Sarastro as their leader, provided he passes the trials set out by the ancient rite. Sarastro prays to Isis and Osiris , asking them to protect Tamino and Pamina. Connect with Britannica Facebook Twitter YouTube Instagram Pinterest Scene 2. A priest warns Tamino that this is his last chance to turn back, but Tamino is determined to proceed. Papageno is not interested in trials; all he wants is food, wine, and a wife. The priest replies that he will get a wife only if he undergoes the trials.

In the first trial, Tamino and Papageno must not speak to anyone. The Three Ladies arrive and try to get them to speak. Papageno cannot resist answering, but Tamino remains steadfast. The priests praise Tamino but scold Papageno, who does not understand why he has to undergo these trials if Sarastro has already found a wife for him. Scene 3. Monostatos approaches the sleeping Pamina and is about to kiss her when the Queen of the Night, who had arrived unseen earlier, frightens him away. Seeking power that can be hers only if Sarastro dies, the Queen awakens Pamina and gives her a dagger, ordering her to kill Sarastro. After the Queen leaves, Monostatos tries to blackmail Pamina by threatening to reveal the murder plot, but Sarastro drives him off and reassures Pamina. Scene 4. Tamino and Papageno are undergoing a second trial of silence. An old woman enters, carrying water. She says that she is 18 years and 2 minutes old. Papageno at first believes she means 80, but the old woman insists she is 18. Papageno inquires if she has a sweetheart.

She replies that she does, and that his name is Papageno. She then disappears. Pamina enters and tries to talk to Tamino, but he refuses to answer. She leaves in despair. Scene 5. In the council room, the priests celebrate Tamino’s success. Sarastro separates Pamina and Tamino for their final trial. Scene 6. Papageno, still longing for a wife, plays his magic bells. The old woman reappears and demands that he promise to marry her, or else he will be alone forever. Papageno reluctantly agrees. She is immediately transformed into a pretty girl: Papagena. As Papageno runs to embrace her, the priests frighten her away. Britannica Lists & Quizzes Editor Picks: Exploring 10 Types of Basketball Movies Scene 7. The Three Spirits come upon Pamina in a courtyard. She is trying to kill herself with her mother’s dagger because she thinks Tamino has abandoned her. They promise that she will see him soon. Scene 8. Two armoured men lead Tamino to his next trials, at mountains gushing fire and water. They recite the credo of Isis that he who overcomes fear will achieve enlightenment.

Tamino is reunited with Pamina. They exchange loving words and enter the trials together. They are unharmed by the water and fire, thanks to the magic flute’s protection. The priests laud their success. Scene 9. In a garden on the temple grounds, Papageno has given up hope of ever finding Papagena again, so he tries to hang himself. But the Three Spirits remind him of the magic bells. He plays them, and Papagena appears. The happy pair celebrate their union. Scene 10. Meanwhile, Monostatos, the Queen, and the Three Ladies attempt to destroy the temple, but they are vanquished and cast into eternal darkness. All ends happily when Sarastro unites Tamino and Pamina in marriage. Sarastro’s followers praise the couple and give thanks to the gods. Tamino and Pamina Go to Toontown | Opera Reviews and Interviews Opera Reviews and Interviews Tamino and Pamina Endure the Trial by Fire. Photo by Robert Millard.

Wolfgang Amadeus Mozart’s The Magic Flute at the Los Angeles Opera Review by David Gregson, Monday, November 25, 2013 I love being warned that “purists” are not likely to approve of Los Angeles Opera’s current production of The Magic Flute. What does that term mean anyway? Should Mozart’s Die Zauberflöte (assuming purists would demand the German title amongst other things) be staged precisely the way it was when Mozart and his librettist, Emanuel Schikaneder, first presented the Singspiel (for it’s not a grand opera, you know) in 1791 at Schikaneder’s theater, the Freihaus-Theater auf der Wieden in Vienna? As far as I can tell from paintings and drawings, that must have been a fantastic affair. Since then perhaps hundreds of directors and designers have mucked about with the piece including David Hockney, Julie Taymor, Maurice Sendak, Marc Chagall, Theo Otto, David McVicar/John F. Macfarlane, David Poutney, and Zandra Rhodes, to name only those who spring immediately to my personal memory.

It is most unlikely that the majority of these offerings historically, some with the dialogue in English and the singing in German, was pure in any way. And I should not forget to mention the innumerable children’s versions of the score which are hacked up and rearranged in ways that, to my mind, quite trivialize the original seriocomic concept. One of my favorite versions of the opera, aside from several more-or-less fabulously sung “pure” ones that exist without production visuals on CDs or LPs, is Ingmar Bergman’s famous film (1975), sung in Swedish and giving the false impression of having been staged in the Drottningholm Palace Theatre. Bergman took considerable liberties with the original material . In any case, my particular love for this opera focuses on the more serious elements in the music — the scenes written for the noble Sarastro and his followers. The great critic and playwright, Bernard Shaw, described Sarastro’s music as coming from the mouth of God. But I have become accustomed to a lifetime of the the Flute’s comic elements swamping the serious, ritualistic ones — and I must remain content.

Ideally the low and the high, the common and the aristocratic, the sacred and profane, the anima and the animus, the fire and water, and the serious and the silly should be in perfect balance. That, indeed, seems to be the whole point. The explicit Masonic ritual given to us by Mozart and Schikaneder is about a kind of Jungian individuation. It is about self mastery, the bringing together of all the various facets of the human personality. The Queen of the Night and Pamina. Sopranos Erika Miklosa and Janai Brugger. Photo by Robert Millard. That said, the LAO’s current show — from Berlin’s Komische Oper, by the way, and already a proven smash success in Europe — did not upset this purist in the least. It is the fantastic imaginative creation of director Barrie Kosky working in conjunction with a British theater group known as 1927, presumably as a tribute to the time in which silent films were becoming the talkies. What we see is in essence a highly sophisticated and genuinely astounding full-length animated cartoon in which the premise of Who Killed Roger Rabbit is brought to the stage: human characters interact with the toons.

How it is all synchronized in real time with the orchestra and singers is an intriguing mystery and it would be fun to know much more about it. The silent film connection, although clearly inconsistent to the careful observer, is doubly apt — for Hollywood is clearly where silent films gave way to sound, and so-called trials of silence are in important aspect of the Singspiel’s elaborately presented Masonic rituals. I say the silent film references were inconsistent because an extended pink elephant sequence generated by the bird-man Pagapego’s inebriation seems to draw on the famous “Pink Elephants on Parade” sequence from Walt Disney’s Dumbo; and, during one of Sarastro’s arias, the eyes peering through cracks in the wall have reference to Orson Welles’s The Trial. Both those films are notable masterpieces from the sound era. “Pink Elephants on Parade”? The Papageno is Rodion Pogossov. Photo by Robert Millard What Kosky and his people have done is eliminate virtually all the Singspiel’s spoken dialogue and replace it with projections in English that mimic the most elaborate title cards from the silent era — the ones that moved or displayed fancy calligraphy. There are many evocations of German Expressionist cinema.

The Queen of the Night looks a bit like her nasty servant, Monostatos, and he looks almost like Friedrich Murnau’s vampire, Nosferatu. The ubiquitous stove-pipe hats worn by Sarastro and company make one think of Werner Krauss in The Cabinet of Dr. Caligari. Sarastro’s realm has something of the look of clockwork mechanics (no doubt a symbol of science triumphing over magic), and this seems to reference Jules Verne more than any particular film I can recall, but there is an element of Georges Méliès in it. Tamino looks and acts quite like Buster Keaton in several of his slapstick comedies, and his beloved Pamina looks like Louise Brooks, one of the most memorable stars from Germany’s silent-film era. Brooks, an American, also had a late, brief and mediocre Hollywood career. Not surprisingly some scenes benefit more that others in this cartoon universe. The famous trial by fire and water (which Prince Tamino and Princess Pamina must endure or die) is almost often always a bust with our hero and heroine wandering around vaguely fiery and watery sets to the accompaniment of a becalmed flute; but here the visuals are stunning and often humorous.

One marvelous moment comes when the couple, chained to rocks at the bottom of the sea, rise to the top as their chains dissolve into musical notes. Photo by Robert Millard. The magic flute itself, and the accompanying magical chimes, are turned into a white nude female fairy and a chorus of what’s-its — which would be confusing if anyone were following the original story too closely. I have no idea what the supertitles said, for I only glanced at them a few times. In any case, Kosky seems to clarify more than he obfuscates, and that is a good thing. I confess, however, I was not clear how Papageno was a bird man, for he didn’t look like one. He is followed about for the entire opera by the silhouette of a black cat, presumably chasing the bird man or his birds. This production boasted many musical strengths. I have rarely heard the overture so wonderfully played as it was by the LA Opera orchestra under the direction of James Conlon. The chief difficulty Conlon faced all evening, or so it seems to me, was the stopping and starting over and over for the long silent stretches.

These were filled by what might have passed for some clunky upright piano in an old small-town silent movie theater. It was, in actuality, an amplified Hammerklavier, and the music was extracted from Mozart’s Fantasies for Piano, K. 475 in C minor and K. 397 in D minor. But whenever Conlon regained direct control, things were superlative. The singing was very much a mixed bag. As Prince Tamino, tenor Lawrence Brownlee was even more marvelous than I had expected from this fine artist. I have never heard him sing Mozart before. Princess Pamina was Janai Brugger, one of those marvelous discoveries who will go far. She is an alumna of the Domingo-Colburn-Stein Young Artist program. The main difficulty baritone Rodion Pogossov experienced as Papageno was being restricted to the postures and positions dictated by the production. These retraints affected everybody. Many artists, presumably fastened securely to their spots, would appear in the projection-bearing back wall via revolving door, perched high and seemingly precariously on tiny ledges.

Pogossov had more freedom than that, but I think his vocal performance would have been more effective (more comical and endearing) had he been left to his own devices physically. Unfortunate soprano Erika Miklosa, as the Queen of the Night, seemed to be a mere face sticking through the wall in order to become the head of an enormous spider cartoon that filled the whole stage. With her style so cramped, it’s no wonder she was less than precise in the famous bits of wordless coloratura. Nor could she sink her teeth into the few dramatic passages. Bass-baritone Evan Boyer had all the notes, but he was not a terribly memorable Sarastro and came nowhere near the sublimity spoken of by Shaw. The three ladies, dressed in their chic ‘30s outfits, were Hae Ji Chang, Cassandra Zoé Velasco, and Peabody Southwell — the latter a favorite of mine from her many Long Beach Opera appearances. The evil Monostatos, no longer a non-PC blackamoor but a fashionable vampire, was tenor Rodell Rosel doing his best in a small role. The Papagena was the most appealing soprano Amanda Woodbury, another worthwhile emerging artist.

Doing their duties admirably were the baritone Phillip Addis as the Speaker; Vladimir Dmitruk and Valentin Anikin as the 1st and 2nd Armored Man. The magical boys, sometimes flitting around as butterflies, were Drew Pickett, Charles Connon and Jamal Jaffer. The excellent chorus was led by chorus master Grant Gershon. I would recommend this The Magic Flute with the reservations I have indicated. I think local audiences are loving it. On the other hand, I do not really hope to see another opera produced in this fashion. I really long for the days when singers and conductor could do their thing and the elaborate spectacle did not become the main reason for the show. A production of the Komische Oper Berlin. Presented in co-production with Minnesota Opera. Tamino in the serpent’s stomach. The three ladies admire his beauty as he is digested. Photo by Robert Millard. CAST Opera in the Outfield: Washington National Opera's The Magic Flute by ARTSEDGE - issuu issuu David M. Rubenstein Chairman Michael M. Kaiser President Darrell M. Ayers Vice President, Education M&M’S® Opera in the Outfield is brought to you by American Heritage Chocolate.

THINGS TO THINK ABOUT... ■ ■ ■ In The Magic Flute, the realm of darkness seems to be run by women while the kingdom of light and truth is governed by men. Still, it is Pamina who helps Tamino through his final quest. What do you think the creators’ ultimate attitudes were toward the different genders? The Magic Flute libretto is highly unusual in that no one— including the characters—can be sure who’s evil or good until the very end. Why do you think this is? Freemasons of Mozart’s era had a strong moral code and a belief in personal fulfillment through enlightenment and reason. How do you think this is reflected in The Magic Flute? Tamino and Papageno make up one of opera’s most famous “buddy” teams. One is steadfast and serious, and the other is cowardly and wisecracking. Have you seen a buddy team like this before on stage or in a movie? Where? M&M’S® Opera in the Outfield is presented in partnership with the Washington Nationals. Additional support for Performances for Young Audiences is provided by The Clark Charitable Foundation; Kaplan, Inc.; Mr. James V.

Kimsey; The Macy's Foundation; The Morris and Gwendolyn Cafritz Foundation; Park Foundation, Inc.; Paul M. Angell Family Foundation; an endowment from the Ryna and Melvin Cohen Family Foundation; Washington Gas; and by generous contributors to the Abe Fortas Memorial Fund and by a major gift to the fund from the late Carolyn E. Agger, widow of Abe Fortas WOLFGANG AMADEUS MOZART’S WASHINGTON NATIONAL OPERA M&M’S OPERA IN THE OUTFIELD Cuesheet The three ladies––powerful minions of the Queen of the Night—protect Prince Tamino. The Magic Flute Libretto by Emanuel Schikaneder Directed by Harry Silverstein Conducted by Philippe Auguin Anything is possible in a land ruled by light and darkness— even true love. Throw in a zany sidekick, a noble quest for truth, and one very enchanted flute, and you have the makings of an operatic masterpiece. Education and related artistic programs are made possible through the generosity of the National Committee for the Performing Arts and the President’s Advisory Committee on the Arts. WHAT TO WATCH AND LISTEN FOR... ■ ■ ■ ■ Groups of threes.

Many characters, props, and musical themes will present themselves in a set of three—a symbolic number for the Freemasons. (The overture is even written in E-flat…the key of three flats.) Characters who may signify historical figures from the 18th century. (Hint: Austrian Empress Maria Theresa was a supposed enemy of the Freemasons. Do you think any of the characters is meant to represent her?) Spoken dialogue. While many operas are sung throughout, The Magic Flute features lines delivered without song. Many different styles of singing. Listen for the smooth, lyrical melodies sung by Tamino, Pamina, and Sarastro versus the more frantic, hurried sounds of the Queen, Papageno, and Papagena. What do these varying styles say about the characters? Cuesheets are produced by ARTSEDGE, an education program of the Kennedy Center. Learn more about education at The Kennedy Center at The contents of this Cuesheet have been developed under a grant from the U.S. Department of Education and do not necessarily represent the policy of the U.S. Department of Education. You should not assume endorsement by the Federal Government. © 2014 The John F.

Kennedy Center for the Performing Arts David and Alice Rubenstein are the Presenting Underwriters of WNO. Performances for Young Audiences is made possible by About Mozart’s The Magic Flute Tamino charms the animals of the kingdom with his trusty magic flute. THE STORY BEHIND Mozart’s final opera, The Magic Flute, which debuted in Vienna in 1791, is almost as mystifying as the plot itself. The libretto most likely had several authors— among them famous producer and Flute star Emanuel Schikaneder—and drew from a variety of folk tales as well as popular operatic and political themes of the day. Historians also believe the work includes references to the Freemasons, an exclusive brotherhood of which Mozart was a member. ACT 1 In an ancient kingdom, a menacing serpent pursues a prince named Tamino (pronounced tah-MEE-noh). The prince collapses and is saved by three ladies who enter and slay the monster. As they rush off, a bird-catcher named Papageno (pah-pah-GEH-noh) dances in. Tamino awakens and assumes Papageno has rescued him, but the three ladies return and explain the truth.

The ladies announce they work for the Queen of the Night, a sorceress whose daughter, Pamina (pah-MEE-na), has been abducted by an evil priest named Sarastro (zah-RAH-stroh). They show Tamino a picture of Pamina and he is smitten. Suddenly, the Queen enters. She urges Tamino to bring her daughter back and orders Papageno to go with him. The ladies give Tamino a magic flute and provide Papageno with enchanted silver bells for added protection. The women also proclaim that three spirits will give further guidance along the way. In the palace of Sarastro, the priest’s servant, Monostatos (moh-NAH-stah-tohss) taunts Pamina. He’s interrupted by Papageno, who stumbles in by accident. Monostatos flees and Papageno tells Pamina about Tamino and his undying love for her.

MAIN CHARACTERS Tamino, a prince Three Ladies, servants to the Queen Papageno, a birdcatcher The Queen of the Night Three Spirits Monostatos, a servant of Sarastro Sarastro, a high priest in the temple of Isis Pamina, the Queen’s daughter Papagena, a young girl Elsewhere, the three spirits lead Tamino to the temple. A priest tells Tamino it is the Queen, and not Sarastro, who is truly wicked. The priest promises Tamino will know everything in due time and unseen voices proclaim Pamina is alive and well. Tamino plays on his flute in celebration, causing the animals of the forest to dance. The melody also attracts Pamina and Papageno. A chase ensues, and Tamino, Pamina, Papageno, and Monostatos find themselves in the presence of Sarastro. Tamino and Pamina are overjoyed to meet each other in person, but Sarastro separates them, indicating he has a plan in store for the lovers.

ABOUT WOLFGANG AMADEUS MOZART Boy genius Wolfgang Amadeus Mozart (1756–1791) was born in Salzburg, Austria to a family of musicians (his father was a well-known composer and his sister was an accomplished instrumentalist). A keyboard whiz by age four and a composer by age five, Mozart traveled and performed throughout much of Europe, eventually settling in Vienna as a freelance artist. Mozart mastered a variety of musical forms from concertos to symphonies to operas and beyond, and his unique and unmistakable sound is a trademark of Western music’s Classical era. ACT 2 Sarastro declares Tamino must undergo trials to become a member of his temple before the prince and Pamina can marry. Papageno will join Tamino and shall be rewarded with his own wife. While Tamino and Papageno struggle to maintain a vow of silence (another part of Sarastro’s test), Monostatos secretly watches over Pamina. He’s frightened away by the unexpected arrival of the Queen, who approaches her daughter carrying a knife. The Queen commands her daughter to kill the priest. Monostatos overhears and attempts to bribe Pamina, but Sarastro appears.

He announces he “knows all” and forgives Pamina on the spot. But further tests await Pamina, Tamino, and Papageno. The strain proves heartbreaking. and Pamina and Papageno both contemplate suicide. Yet, guided by the voices of the three spirits, Papageno finally meets his beautiful betrothed—named Papagena (pah-pah-gehNAH)—and Pamina and Tamino are reunited to face the final trials of the temple together. Will they succeed? Can love, friendship, and the magic flute save both couples? ALL PHOTOS BY CORY WEAVER FOR THE SAN FRANCISCO OPERA ABOUT WASHINGTON NATIONAL OPERA Originally founded in 1956, Washington National Opera (WNO) ranks as one of today’s largest American opera companies. WNO presents several operas each year at the Kennedy Center and its artists regularly perform throughout the city. WNO is also active in commissioning new operas. Among the most popular of WNO’s community programs is Opera in the Outfield, which brings free broadcasts of opera to Nationals Park.

To learn more about opera visit and click the tag “opera” About Mozart’s The Magic Flute Tamino charms the animals of the kingdom with his trusty magic flute. THE STORY BEHIND Mozart’s final opera, The Magic Flute, which debuted in Vienna in 1791, is almost as mystifying as the plot itself. The libretto most likely had several authors— among them famous producer and Flute star Emanuel Schikaneder—and drew from a variety of folk tales as well as popular operatic and political themes of the day. Historians also believe the work includes references to the Freemasons, an exclusive brotherhood of which Mozart was a member. ACT 1 In an ancient kingdom, a menacing serpent pursues a prince named Tamino (pronounced tah-MEE-noh). The prince collapses and is saved by three ladies who enter and slay the monster. As they rush off, a bird-catcher named Papageno (pah-pah-GEH-noh) dances in. Tamino awakens and assumes Papageno has rescued him, but the three ladies return and explain the truth.

The ladies announce they work for the Queen of the Night, a sorceress whose daughter, Pamina (pah-MEE-na), has been abducted by an evil priest named Sarastro (zah-RAH-stroh). They show Tamino a picture of Pamina and he is smitten. Suddenly, the Queen enters. She urges Tamino to bring her daughter back and orders Papageno to go with him. The ladies give Tamino a magic flute and provide Papageno with enchanted silver bells for added protection. The women also proclaim that three spirits will give further guidance along the way. In the palace of Sarastro, the priest’s servant, Monostatos (moh-NAH-stah-tohss) taunts Pamina. He’s interrupted by Papageno, who stumbles in by accident. Monostatos flees and Papageno tells Pamina about Tamino and his undying love for her.

MAIN CHARACTERS Tamino, a prince Three Ladies, servants to the Queen Papageno, a birdcatcher The Queen of the Night Three Spirits Monostatos, a servant of Sarastro Sarastro, a high priest in the temple of Isis Pamina, the Queen’s daughter Papagena, a young girl Elsewhere, the three spirits lead Tamino to the temple. A priest tells Tamino it is the Queen, and not Sarastro, who is truly wicked. The priest promises Tamino will know everything in due time and unseen voices proclaim Pamina is alive and well. Tamino plays on his flute in celebration, causing the animals of the forest to dance. The melody also attracts Pamina and Papageno. A chase ensues, and Tamino, Pamina, Papageno, and Monostatos find themselves in the presence of Sarastro. Tamino and Pamina are overjoyed to meet each other in person, but Sarastro separates them, indicating he has a plan in store for the lovers.

ABOUT WOLFGANG AMADEUS MOZART Boy genius Wolfgang Amadeus Mozart (1756–1791) was born in Salzburg, Austria to a family of musicians (his father was a well-known composer and his sister was an accomplished instrumentalist). A keyboard whiz by age four and a composer by age five, Mozart traveled and performed throughout much of Europe, eventually settling in Vienna as a freelance artist. Mozart mastered a variety of musical forms from concertos to symphonies to operas and beyond, and his unique and unmistakable sound is a trademark of Western music’s Classical era. ACT 2 Sarastro declares Tamino must undergo trials to become a member of his temple before the prince and Pamina can marry. Papageno will join Tamino and shall be rewarded with his own wife. While Tamino and Papageno struggle to maintain a vow of silence (another part of Sarastro’s test), Monostatos secretly watches over Pamina. He’s frightened away by the unexpected arrival of the Queen, who approaches her daughter carrying a knife. The Queen commands her daughter to kill the priest. Monostatos overhears and attempts to bribe Pamina, but Sarastro appears.

He announces he “knows all” and forgives Pamina on the spot. But further tests await Pamina, Tamino, and Papageno. The strain proves heartbreaking. and Pamina and Papageno both contemplate suicide. Yet, guided by the voices of the three spirits, Papageno finally meets his beautiful betrothed—named Papagena (pah-pah-gehNAH)—and Pamina and Tamino are reunited to face the final trials of the temple together. Will they succeed? Can love, friendship, and the magic flute save both couples? ALL PHOTOS BY CORY WEAVER FOR THE SAN FRANCISCO OPERA ABOUT WASHINGTON NATIONAL OPERA Originally founded in 1956, Washington National Opera (WNO) ranks as one of today’s largest American opera companies. WNO presents several operas each year at the Kennedy Center and its artists regularly perform throughout the city. WNO is also active in commissioning new operas. Among the most popular of WNO’s community programs is Opera in the Outfield, which brings free broadcasts of opera to Nationals Park. To learn more about opera visit and click the tag “opera” ® David M. Rubenstein Chairman Michael M.

Kaiser President Darrell M. Ayers Vice President, Education M&M’S® Opera in the Outfield is brought to you by American Heritage Chocolate. THINGS TO THINK ABOUT... ■ ■ ■ In The Magic Flute, the realm of darkness seems to be run by women while the kingdom of light and truth is governed by men. Still, it is Pamina who helps Tamino through his final quest. What do you think the creators’ ultimate attitudes were toward the different genders? The Magic Flute libretto is highly unusual in that no one— including the characters—can be sure who’s evil or good until the very end. Why do you think this is? Freemasons of Mozart’s era had a strong moral code and a belief in personal fulfillment through enlightenment and reason. How do you think this is reflected in The Magic Flute? Tamino and Papageno make up one of opera’s most famous “buddy” teams. One is steadfast and serious, and the other is cowardly and wisecracking. Have you seen a buddy team like this before on stage or in a movie? Where? M&M’S® Opera in the Outfield is presented in partnership with the Washington Nationals.

Additional support for Performances for Young Audiences is provided by The Clark Charitable Foundation; Kaplan, Inc.; Mr. James V. Kimsey; The Macy's Foundation; The Morris and Gwendolyn Cafritz Foundation; Park Foundation, Inc.; Paul M. Angell Family Foundation; an endowment from the Ryna and Melvin Cohen Family Foundation; Washington Gas; and by generous contributors to the Abe Fortas Memorial Fund and by a major gift to the fund from the late Carolyn E. Agger, widow of Abe Fortas WOLFGANG AMADEUS MOZART’S WASHINGTON NATIONAL OPERA M&M’S OPERA IN THE OUTFIELD Cuesheet The three ladies––powerful minions of the Queen of the Night—protect Prince Tamino. The Magic Flute Libretto by Emanuel Schikaneder Directed by Harry Silverstein Conducted by Philippe Auguin Anything is possible in a land ruled by light and darkness— even true love. Throw in a zany sidekick, a noble quest for truth, and one very enchanted flute, and you have the makings of an operatic masterpiece. Education and related artistic programs are made possible through the generosity of the National Committee for the Performing Arts and the President’s Advisory Committee on the Arts.

WHAT TO WATCH AND LISTEN FOR... ■ ■ ‘The Magic Flute’ at the Metropolitan Opera - Review - The New York Times The New York Times Music |Mozart for the Little Ones, Where the Special Effects Are Always 3-D Search Continue reading the main story Photo Russell Thomas as Tamino in Julie Taymor’s production of “The Magic Flute” at the Metropolitan Opera. This family-friendly version of Mozart’s work runs 100 minutes without an intermission and is presented in English. Credit Sara Krulwich/The New York Times Last week came word that the official opening of Julie Taymor ’s troubled-plagued $65 million production of the Broadway musical “Spider-Man: Turn Off the Dark” was being pushed back again, this time for a month, until Feb. 7. Then, on Monday night, another accident occurred, when an actor fell from a set during a preview performance. So it must have been a consolation to Ms. Taymor that on Tuesday morning at the Metropolitan Opera , her puppet-filled, circus-like 2004 production of Mozart’s “Magic Flute” went off without a hitch.

This was the Met’s family-friendly “Magic Flute,” first seen in the 2006-7 season as a special holiday entertainment. The opera was trimmed to 100 minutes (without an intermission), and presented in the poet J. D. McClatchy’s snappy and singable English translation of the German libretto. Erik Nielsen, a young American conductor very active in Europe, made his Met debut, leading a well-paced and lively performance. Once again the house was nearly filled, and there were delighted children everywhere. These young operagoers laughed when the hearty baritone Nathan Gunn, as the bird catcher Papageno, had his chattering mouth padlocked by the three ominous ladies who work for the mysterious Queen of the Night. And one scene had the children roaring: Papageno and Pamina (the beguiling soprano Susanna Phillips), finding themselves lost on the way to Sarastro’s temple, were surrounded by the leering slave Monostatos (Alan Oke) and a posse of bare-chested brutes. So Papageno activated his magic bells, which turned the brutes into a chorus of tra-la-la dancers. That things went so well was no surprise.

The special effects in this show rely on wonderfully old-fashioned theatrical techniques. For example, the huge serpent pursuing the panicked Prince Tamino in the opening scene is here just a row of 10 dancers holding tall sticks, each with a segment of the long puppet monster. And the only aerial feat was when the three wise spirits who serve as guides to Prince Tamino on his spiritual journey float across the stage, perched on a huge flying bird. Playing the spirits were a trio of sweet-voiced, Methuselah-bearded boys in pasty body makeup (Noah Sadik, Neel Ram Nagarajan and Seth Ewing-Crystal). Photo Nathan Gunn as the bird catcher Papageno. Credit Sara Krulwich/The New York Times I was no fan of Ms. Taymor’s production of the complete “Zauberflöte” when it was introduced in 2004 . The stage is overpopulated with puppets, acrobats and extras, and Ms. Taymor’s costumes make the characters, even the noble Tamino, seem weirdly fantastical. Still, there are dazzling things about it. I was clearly in the minority on Tuesday morning, as Mozart, the singers and Ms.

Taymor won over a house full of young fans. Advertisement Continue reading the main story The Met did not stint on recruiting first-rate singers for this holiday presentation. The fine tenor Russell Thomas, a husky Tamino, looked not like some ineffectual storybook prince but a determined man on a quest for enlightenment and love. With his sizable voice he sang beautifully. Ms. Phillips was an endearing Pamina, and her vibrant, tender voice was ideal for the role. Tossing off high F’s in the Queen of the Night’s arias was nothing for the brilliant coloratura soprano Erika Miklosa. What made her performance special, though, was the dusky warmth and lyrical subtlety of her singing, qualities you do not typically associate with this ruthless character. The bass Morris Robinson was a stentorian and calmly authoritative Sarastro. Ashley Emerson was a charming Papagena. Every time Mr. Gunn sings Papageno he steals the show. He did so again, bringing a winning mix of rugged charm and heartache to the character, who longs for a mate, though a drumstick to munch on certainly takes the edge off for him. As the father of five, Mr.

Gunn knows a thing or two about relating to children. Those awaiting Ms. Taymor’s “Spider-Man” might consider taking in “The Magic Flute.” Here is a musical where the forces of light absolutely turn off the dark. “The Magic Flute” continues through Jan. 6 at the Metropolitan Opera House, Lincoln Center; (212) 362-6000, metopera.org. A version of this review appears in print on December 22, 2010, on Page C5 of the New York edition with the headline: Mozart for the Little Ones, Where the Special Effects Are Always 3-D. Order Reprints | Today's Paper | Subscribe

Question: What gift is presented to 'Prince Tamino' in the title of a Mozart opera?
Answer: 'THE MAGIC FLUTE'